This is a very odd film. The plot is extremely convoluted: a gang abducts the son of one man (Michael Caine) with no money, in order to obtain diamonds from the government (via Donald Pleasance). Pleasance then refuses the diamonds to Caine (thus proving the gang should have chosen someone with money) who then steals them and travels to France with a James-Bond-esque suitcase. Meanwhile the gang is meticulously trying to implicate Caine in the abduction (for some unclear reason) which involves killing their own female gang member and framing Caine. But when he is captured by the police they help him escape...If this were not convoluted enough, the writers obviously try to lighten the tone of its harrowing subject matter (child abduction and torture) with some comedy moments which seem very misplaced.The whole "implicate Caine" subplot is particularly strange and seems more to inject a bit of lurid sensationalism (nude snaps and dead girl in bed) and to provide an excuse for a poorly executed escape sequence. I'm not even sure why the capture/escape is staged in France apart from the fact that French cops have guns and therefore Caine can be shot at. This brief French excursion unnecessarily causes another poorly staged sequence; his need to get back into England.One also wonders why the girl would allow herself to be photographed etc. Planting evidence incriminating your own guilt is hardly a good idea, and she must surely have smelt a rat? All this shot in the unimaginative fashion of a typically gritty 1970s British film (with typical music too) which makes us think more of a long episode of THE SWEENEY than anything cinematic (compare the feeble pursuit on the underground here with that in the FRENCH CONNECTION which was obviously the inspiration for it).

The main attraction for watching this British made film was the promise of a thriller directed by a man that knew a thing, or two, about the genre, Don Siegel. This man, responsible for making the career of Clint Eastwood soar, was obviously not too inspired in bringing the Clive Egleton novel to the screen. Mr. Siegel, obviously, had probably little input with the Leigh Vance adaptation, which offers no big thrills to fans wanting to see more action, something this could have used. The picture was a tame entertainment given the fine cast that was engaged to give life to Mr. Egleton's book.Michael Caine plays Maj. John Tarrant, whose young son David has been kidnapped by people that are using him as a collateral. Mr. Caine, one of the most pleasant actors of his generation, is almost static, as the man that must do whatever in order to free his young son, while working within a system that at the end, betrays him. For that matter, Mr. Siegel got an almost catatonic acting from Janet Suzman, a fine actress, known mainly for her theatrical work.Donald Pleasence, an actor who was a welcome addition to any film, is fine as the fastidious man in charge of the rescue operation. John Vernon, who played a lot of heavies during his career, is at it again. The wonderful Delphine Seyrig shows up as part of the bad guys that are holding the young boy. The fine supporting English cast does as well as expected.

Every now and again you come across a film that's somewhat a letdown, even when those expectations are kept at bay. Don Siegel's mid-70s espionage-thriller 'The Black Windmill' that starred Michael Caine falls in that category. If anything it was that title (which the story is adapted off Clive Egleton's novel "Seven Days to a Killing") which caught my eye. Siegel's adapt, controlled workhorse direction tackles the subdued material with little suspense, but constructing something tight, sullen and dry with the main focus on building something out of its elaborately knotty (but dubious) premise. It's a true pot-boiler entangled with twists. While the material is stimulating (with some good work by the solid support performances and an occasionally witty line) and the sturdy set-pieces are competently crafted, however the pacing is too blotchy and in the end it builds to really nothing. It loses some weight due to the lack of suspense and urgency with a crackerjack climax that's just too quick. Michael Caine's composed performance is strongly delivered, and John Vernon makes for an ideally icy and conniving villain. Donald Pleasance is delightfully squirmy (which his character likes to really fiddle with that moustache) and Janet Suzman provides some fire. Delphine Seyrig and Clive Revill offer able support too. Roy Budd's sizzling, but low-key music score works well and Ousama Rawi lenses it with a great illustrative eye. Siegel's touch is evident in both of those devices. An unexceptional feature, but still its well organised and performed.

In 1965, Caine created the role of Harry Palmer in the Ipcress File. It was good enough to spawn two follow-ups: Funeral in Berlin and the Billion Dollar Brain. By 1974, the movie-going public was used to seeing him in the role of a secret agent. Here he gets in trouble, and although you know that by the end of the film he will emerge victorious, or will he? I'm not telling. But the excruciating fun is in trying to figure our what will happen next. Filmed in Europe, Black Windmill" is directed by Don Siegel. Clint Eastwood credits Don for his success as a director, and, of course, Siegel also directed some of Clint's best movies. The pacing is even throughout and builds to a suspenseful climax. Let it not be overlooked that Donald Pleasence in a supporting role is at his usual best. The human chameleon that adapts beautifully to whatever role is given him. John Vernon is especially menacing. To me, seeing old movies a second or third time is like visiting with old friends. Everybody has their own "Casablanca" and "Shawshank Redemption." If you haven't seen this one yet, please do. It will become one of your "old friends" which I'm sure you will visit again and again.